Southeastern Quilt Museum http://southeasternquiltmuseum.com/ Thu, 24 Nov 2022 13:00:00 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://southeasternquiltmuseum.com/wp-content/uploads/2021/10/cropped-icon-32x32.png Southeastern Quilt Museum http://southeasternquiltmuseum.com/ 32 32 Glass Museum marks 20 years of art in Tacoma https://southeasternquiltmuseum.com/glass-museum-marks-20-years-of-art-in-tacoma/ Thu, 24 Nov 2022 13:00:00 +0000 https://southeasternquiltmuseum.com/glass-museum-marks-20-years-of-art-in-tacoma/

The fires are still burning at the Glass Museum. For the past two decades, orange-hot molten glass has kept glassblowers busy and audiences captivated inside the museum’s tilted cone.

Twenty years have passed since this cone became an instant icon for Tacoma when the museum opened. The creation of the Museum of Glass (MOG) marked the revival of the city’s long-neglected waterfront and established the City of Destiny as a center for glass art.

For a look back at the MOG’s first 20 years, The News Tribune interviewed the museum’s executive director as well as two glassblowers who have been at the museum since it opened.

Build a museum

MOG Hot Shop Manager Benjamin Cobb was living in New York State when he first heard of a museum being built on the West Coast. While blowing glass at the Corning Glass Museum in 2001, Cobb met a friend who told him about the project going on in a town called Tacoma, somewhere south of Seattle.

“And she said they had the guts to call themselves the Museum of Glass,” Cobb recalled. Intrigued, he applies for a position and is hired while the hot shop is still under construction.

Hot shop goof Gabe Feenan was working in the Bay Area when he heard about MOG. He began working there a month after the museum opened in July 2002.

“So we introduced ourselves,” Cobb said. The couple were hired by glass artist Charlie Parriott, who oversaw the design and construction of the hot shop.

“The three of us at the time were all very different,” Cobb said. “And I don’t think we knew what the museum was. But we were told the hot shop was a preview of the working artists studio.

Cobb wasn’t used to working in a public hot shop with an audience hanging on every move, but he quickly got used to the “fishbowl” type setting.

Since then, the pair have gone from awestruck fans to peers with some of the greatest glass artists of the 21st century. They have seen glass art become more sophisticated and more accepted as an art form just like any other.

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Benjamin Cobb, director of the Museum of Glass’ hot shop and chief engineer, places a piece of hot glass in colored sand to turn it pink while working in the museum’s hot shop in Tacoma, Wash., Nov. 10 2022. Cheyenne Boone Cheyenne Boone/The News Tribune

And, they met their heroes like Italian master glassmaker Lino Tagliapietra.

“I think it was really cool to work with these people who I thought of as invincible, divine glassblowers and see them mess up or do something a little off center. Oh, they are human,” Feenan said.

Teach and learn

Throughout the year, the museum’s robust guest artist program fills the hot store more than half the time. Cobb, Feenan and the other permanent workers help the artists realize their vision.

Feenan learns new skills from each guest artist he works with.

“When I started working here, I really considered it an education,” Feenan said. “And throughout the 20 years, I feel like I’m still learning.”

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Gabe Feenan, the head of the Museum of Glass’ hot shop, molds a piece of hot glass with a pair of scissors while working in the museum’s hot shop in Tacoma, Wash., Nov. 10, 2022. Cheyenne Boone Cheyenne Boone/The News Tribune

In the early years, guest artists brought their own teams of glassblowers. Now they usually rely on MOGs.

Such was the case last week when artist John Moran, the winner of season 3 of the Netflix glassblowing series, “Blown Away”, was working in the hot shop.

“If someone can draw it on paper, then we can find a way to do it,” Cobb said. “But I feel like I’m learning this week. (Moran does) things I’ve never seen done.

Scalable glass

As techniques have refined since the 1960s when art glass began to take off, so has the resulting work. The scope and sophistication of glass art has only increased since the opening of the MOG.

Walk through the MOG’s 13,000 square foot gallery and you’ll see works of art that, except for glass, have little in common with each other. Recently, a full-size armchair made of delicate glass filaments occupies one corner. Realistic birds fill a crate. A multicolored chandelier by Dale Chihuly, a native of Tacoma, extends almost from floor to ceiling. Nearby, the vanished but not forgotten art deco ferry Kalakala is memorialized in glass.

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A view of “What are you looking at?” exhibit that is featured at the Museum of Glass, which includes Pilchuck Glass School instructors and artists-in-residence who were selected by Museum of Glass hot store manager and head gaffer Benjamin Cobb and hot store gaffer Gabe Feenan for show, at the museum in Tacoma, Wash., Nov. 10, 2022. Cheyenne Boone Cheyenne Boone/The News Tribune

“You can see it’s not just about technique anymore and doing the purest thing,” Cobb said. “It’s more a matter of idea.”

Glass is not easy to work with. Big projects require a team. It’s expensive. Skills take years to develop.

MOG has leveled the playing field by creating programs that allow everyone from Hilltop kids to injured veterans to work in the hot shop.

Design glass for children

A long-running program at the museum, Kids Design Glass, allows kids to submit their concept drawings of something they’d like to see made into glass. Cobb and Feenan say this is one of the most challenging and rewarding aspects of their roles.

“You just have to see the kids, how excited they are, and then see the family, how excited they are,” Feenan said. These early entrants are now in their twenties and occasionally return to the hot shop.

“They tell us, ‘This was a game-changer,'” Feenan said. “It was always a big deal for them and it feels good. I love creating things, but when you actually touch someone’s life, it makes it even more special.

There are two versions made, one intended for children and the other exhibited at the MOG.

Broken glass

With so many artists and other projects over the years, Cobb and Feenan can’t always remember when they visit a gallery or museum if they had a hand in making it happen. The pair work on 20 to 40 pieces a week.

Unlike a painting where an artist might revisit a canvas over days or weeks, a glass work usually needs to be completed in a day. Hot glass cannot be left out to cool or it will shatter. Instead, it is placed in an annealer, where it cools for hours or days.

Still, there is broken glass – often when a work separates from the poles the glassblowers use to blow out the molten glass and keep it warm. Pauses are a hazard of the medium.

“You don’t get too, too emotional about it,” Cobb said.

Feenan still winces at the memory of a mistake he made years ago that sent an artist’s complicated work crashing to the ground when he was only seconds away from being ended.

“And it just crashed and fell to the ground in 100 pieces,” he said. “I know the guy well, we are friends and I still apologize today.”

At the bar

MOG Executive Director Debbie Lenk spent eight years running the museum. She previously worked for Weyerhaeuser. Lenk brought financial training to the museum, which has gone through difficult financial times in its history.

While the Tacoma Art Museum has seen two expansions in recent years, MOG’s footprint has not changed in the past two decades.

What has changed is the environment of MOG. Connected to the waterway via the Chihuly Glass Bridge, the museum has witnessed the revitalization of Tacoma’s polluted waterfront – once a Superfund site. Today, the museum is flanked by condos, apartments, businesses, parks and boardwalks.

“A lot of it was our positioning as a leader and our connection to the waterway,” Lenk said. “It really shows the importance that culture can bring to our business district and our university district.”

Change focus

MOG was imagined and started out as a museum dedicated to glass art, but quickly changed its focus to contemporary art. In 2007, it refocused on the exclusive exhibition of glass art and mixed media incorporating glass. Today it is the only one of its kind in the western United States.

In 2021, MOG acquired the Robert Minkoff collection. Minkoff, a resident of Washington DC, was one of the nation’s foremost glass art collectors. MOG also acquires a work of art from each guest artist.

“We have one of the only collections that has grown in a way that documents the growth of the movement,” Lenk said.

Because there are few traveling glass shows, the MOG had to develop its own. Some of them have been transferred to other museums. An exhibit dedicated to Seattle-based artist Preston Singletary, whose art frequently reflects his Native American heritage, opened at MOG in 2018. This exhibit is currently at the National Museum of the American Indian in Washington, D.C.

In addition to its in-house programs, MOG maintains an outreach program in schools and takes its traveling hot store out into the community.

Finances and future

After a few difficult years in its history, Lenk said, MOG is now in good financial shape. Half of its income comes from dues (donations, grants, members) and the other half comes from admissions, commissions and in-store sales.

MOG’s stature in the glass world was on display earlier this year when Tacoma hosted the Glass Art Society’s annual conference. It brought a glass who’s who to Tacoma.

As the Museum of Glass enters its next 20 years, it will continue to strengthen its community engagement programs and increase opportunities to see artists in action.

The whole chaired by the brilliant cone.

“Almost every day people are outside taking pictures,” Lenk said. “If they get engaged, they want to be in front of the cone. Once they graduate, they want a picture in front of the cone. It’s pretty amazing how many times we look out the window and see photographers.

MOG in numbers

• Exhibitions since 2002: 140

• Liquid glass temperature: 2,100 degrees Fahrenheit

• Annual visitors: more than 100,000

• Percentage of free visitors: 40

• Annual residences of visiting artists in hot-shops: 35

• Children reached by educational programs: 200,000

Source: Glass Museum

Craig Sailor has worked for The News Tribune since 1998 as a writer, editor and photographer. He previously worked at The Olympian and other Nevada and California newspapers. He graduated in journalism from San Jose State University.

]]> Hundreds of ancient gold coins stolen from German museum in less than 10 minutes, officials say https://southeasternquiltmuseum.com/hundreds-of-ancient-gold-coins-stolen-from-german-museum-in-less-than-10-minutes-officials-say/ Wed, 23 Nov 2022 17:11:09 +0000 https://southeasternquiltmuseum.com/hundreds-of-ancient-gold-coins-stolen-from-german-museum-in-less-than-10-minutes-officials-say/

BERLIN (AP) — Thieves who broke into a southern German museum and stole hundreds of ancient gold coins walked in and out in nine minutes without raising the alarm, officials said Wednesday, a sign further that the robbery was the work of organized criminals.

Police have launched an international hunt for the thieves and their loot, consisting of 483 Celtic coins and a piece of unworked gold which were discovered during an archaeological dig near the present-day town of Manching in 1999 .

READ MORE: Stolen Mesopotamian tablet acquired by Hobby Lobby finally returns to Iraq

Guido Limmer, the deputy head of the Bavarian State Criminal Police Office, described how at 1:17 a.m. (0017 GMT) on Tuesday cables were cut at a telecommunications hub about a kilometer away (less one mile) from the Celtic and Roman Museum in Manchning. , knocking out communication networks in the region.

The museum’s security systems recorded that a door was forced open at 1:26 a.m. and then how the thieves left at 1:35 a.m., Limmer said. It was during these nine minutes that the culprits had to break down a window and extricate the treasure.

Limmer said there were “parallels” between the Manching heist and the theft of priceless jewelry in Dresden and a big gold coin in Berlin in recent years. Both were blamed on a Berlin-based crime family.

“If there is a link, we cannot tell,” he added. “Only this: we are in contact with colleagues to study all possible angles.”

Bavarian Science and Arts Minister Markus Blume said evidence pointed to the work of professionals.

“It’s clear that you don’t just walk into a museum and take this treasure with you,” he told public broadcaster BR. “It’s highly secure and as such it’s suspected we’re dealing with an organized crime case instead.”

Officials, however, acknowledged that there were no guards at the museum overnight.

An alarm system was deemed to provide sufficient security, said Rupert Gebhard, who heads the Bavarian State Archaeological Collection in Munich.

Gebhard said the hoard was of great value both to the local Manching community and to archaeologists across Europe.

The bowl-shaped coins, dating from around 100 BC. were made from river gold from Bohemia and show how the Celtic settlement of Manching had links across Europe, he said.

Gebhard estimated the value of the treasure at around 1.6 million euros ($1.65 million).

“Archaeologists hope the pieces will remain in their original condition and reappear at some point,” he said, adding that they are well documented and would be difficult to sell.

“The worst option, smelting, would mean a total loss for us,” he said, noting that the material value of gold itself would only be around 250,000 euros at current market prices.

Gebhard said the size of the hoard suggested it may have been a “tribal chieftain’s war chest”. It was found inside a bag buried under the foundations of a building and was the largest such find made during regular archaeological excavations in Germany in the 20th century.

Limmer, the deputy police chief, said Interpol and Europol had already been alerted to the theft of the coins and that a 20-person special investigation unit, dubbed “Oppidum” after the Latin term for a colony Celtic, was created to find the culprits. .

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Dinosaurs all lit up for the Mid-America Science Museum’s annual holiday light show https://southeasternquiltmuseum.com/dinosaurs-all-lit-up-for-the-mid-america-science-museums-annual-holiday-light-show/ Tue, 22 Nov 2022 21:41:12 +0000 https://southeasternquiltmuseum.com/dinosaurs-all-lit-up-for-the-mid-america-science-museums-annual-holiday-light-show/

With Thanksgiving right around the corner, the Mid-America Science Museum is bringing back one of the holiday’s most popular children’s events – Dino-Lites.

Started five years ago after a suggestion by Hot Springs Mayor Pat McCabe, the most terrifying Christmas light show of the year opens Friday, November 25 at 5 p.m.

“He kind of wanted to have something similar here, like Garvan Gardens does with its lights,” said Miriam Baldwin, development assistant at the Mid-America Science Museum. “Since we have our dinosaurs on our Dino-Trek, it was just something to do for the holidays, get them decorated.”

In 2018, the museum reached out to the community and asked them to help decorate and assemble lights, she said.

“And that’s kind of how it started. We’ve got community organizations, nonprofits, businesses, and they’ll just get together and decorate — either a holiday, maybe a popular movie , or just something specific to their business, and decorate them for the holidays.”

[Video not playing? Click here to watch » youtube.com/watch?v=MK4xNmL3aO8]

Baldwin said the museum is working to secure sponsors for each of the 13 dinosaurs in the Oaklawn Foundation Dino-Trek, the state’s first and only permanent dinosaur exhibit, which allows visitors to learn about them. more about the rise and fall of dinosaurs from the Triassic through the Cretaceous periods.

“We have a lot of loyal attendees coming back,” she said. “We’ve had the Garland County Library come back for the past few years. We’ve had help from the college to do that. … So we’re just trying to get as many people who want to participate, and that’s a big sort of a staff thing for them too, just to get together.”

Watching children browse the exhibit at this time of year is often a highlight for museum staff.

“Dinosaurs, kids love them anyway, so…we have that ‘it’ factor that they do,” Baldwin said. “But it’s always nice to see them – they’ll either recognize a Christmas movie or they’ll just see them with Santa hats on reindeer ears, and they’re just thrilled to be there. We let’s do the night after closing, so 5:00 – 7:00 p.m. is kinda after hours, and they’re even more excited to be there, and all the Christmas lights. So it’s something you just have to see all the kids’ faces light up with happiness.”

The event will be open every Friday and Saturday until December 23 and is included in general admission to the museum. Baldwin said the museum generally sees an increase in attendance due to the event as well.

“We’re kind of in a rush with this Thanksgiving break at the schools, and then once they know we’re open later on those Fridays and Saturdays, we’ll have a big rush of people who can come to the museum during the day, and if they have admission, their ticket is good to go back to Dino-Lites,” she said.

“So we’ll probably see double the number of people coming through. We’ve only got a couple hundred more on those Fridays and Saturdays than we would on weekdays. They’re braving the cold for us; they’re braving the rain for us to go see the dinosaurs and look at all the decorations, so it’s good that they’re true to that.”

McCabe will once again “flip the switch” at Friday’s lighting ceremony.

A triceratops is decked out in a brightly colored outfit as part of the Mid-America Science Museum‘s Dino-Lites exhibit, which opens Friday. – Photo by Lance Porter of The Sentinel-Record

Photo Mid-America Science Museum workers decorate one of the dinosaurs for the annual Dino-Lites exhibit which opens Friday at 5 p.m. – Photo by Lance Porter of The Sentinel-Record

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Art Museum Celebrates Student Artists with Student Response Exhibit Awards https://southeasternquiltmuseum.com/art-museum-celebrates-student-artists-with-student-response-exhibit-awards/ Tue, 22 Nov 2022 13:00:00 +0000 https://southeasternquiltmuseum.com/art-museum-celebrates-student-artists-with-student-response-exhibit-awards/

Three student artists received cash prizes for their submissions to the 2022 Student Response exhibition, an annual showcase of student art, during a ceremony at the Miami University Art Museum on Wednesday, November 9.

Cassady Edwards, Olivia De Leon and Kayla Becker placed first, second and third respectively for their contributions to the exhibition, the theme of which was “Interconnected: Land | Identity | Community.” The winners were determined by a public vote taken by visitors to the museum during its showcase.

Attendees of the ceremony and accompanying reception, which included many contributing artists and their families, were able to tour the 31 pieces on display and enjoy light refreshments before the winners were announced.

Becker, a sophomore in computer science and a member of the Miami Tribe of Oklahoma, said she didn’t expect to win anything at the awards.

“I’m honestly a bit shocked because there were a lot of really neat pieces there,” Becker said. “Some of them were just beautiful in general. Some of them had a lot of thought and explanation, and a lot of them were from people who are art majors, so they know what’s going on. ‘they do.

Even without much formal artistic training, two of Becker’s pieces were chosen for the exhibit, one of which, a dancing stick inspired by a traditional Native American object, placed third overall.

“I’m really excited about it; it made me feel really good,” Becker said. “It made me feel like maybe I was more creative than I thought.”

In an email to The Miami Student, De Leon, a studio art major, explained that the exhibit’s theme resonated with her because of her family ties, which influenced her piece, an oil painting. oil titled “Where Do I Stand?”

“My parents moved to Mexico on the first day of freshman year in Miami, so leaving them felt like my heart was split by distance and forced me to find myself,” De Leon wrote. “Growing up in a small town, I never really got to experience and find out what my Mexican heritage really meant, so their move allowed me to experience Mexico firsthand while visiting.”

De Leon also wrote that she was incredibly grateful to be awarded second place for her work.

“I don’t necessarily take compliments and consider myself humble, so receiving second place was an honor and a surprise,” De Leon wrote.

This year’s exhibition, the museum’s seventh, was produced in collaboration with the Myaamia Center in Miami. Assistant Director George Ironstrack and Miami Tribal Relations Manager Kara Strass were directly involved in theme development and room selection.

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During the awards ceremony, the museum also unveiled a new land recognition sign that will sit in the lobby going forward, demonstrating its commitment to maintaining a close relationship with the Myaamia Center.

Sherri Krazl, Marketing and Communications Coordinator for the Art Museum, spoke about this partnership.

“Whenever there is an opportunity to collaborate with [the Myaamia Center], we are reaching out,” Krazl said. “We reached out and had a few meetings with them to talk about what it would look like, what the theme should be, what would be appropriate.”

Photo by Macey Chamberlin | The Miami Student

The Miami University Art Museum unveiled a new land acknowledgment to demonstrate its relationship with the Myaamia Center.

Krazl said the chosen theme was chosen to allow students from all backgrounds to contribute.

“In the process of discussing the topic of tribal sovereignty, we wanted to make sure that we titled the exhibit and appealed to the art with something broad enough,” Krazl said. “That students who might not already have some sort of connection or understanding or relationship to a tribe or tribal community can still participate.”

A total of 55 works were submitted for the exhibition. A panel of judges, including Ironstrack, Strass and Krazl, along with Laura Stewart, Head of Collections/Art Museum Registrar, and Jason Shaiman, Curator of Exhibitions, narrowed the list down to 31.

Shaiman said the show’s staging process presented an interesting challenge.

“Even though we have a theme, the works are not directly related to each other,” Shaiman said. “A lot of it is looking at shapes, looking at colors, looking at patterns, looking at the themes that I see but also what I’ve inferred from their artist statement.”

This year’s Student Response exhibit will be available until December 10. Shaiman said he hopes people come to see it and that it gets them thinking about what the themes of land, identity and community mean to them.

“We really hope people come away with an understanding of how artists respond to their own experiences,” Shaiman said. “And sometimes responding to larger stories, larger concepts that go beyond what they really understand about themselves.”

@HollowCentral

hollowrr@miamioh.edu

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Montclair Art Museum Presents vanessa german:…please imagine all the things i can’t say… https://southeasternquiltmuseum.com/montclair-art-museum-presents-vanessa-german-please-imagine-all-the-things-i-cant-say/ Mon, 21 Nov 2022 23:55:23 +0000 https://southeasternquiltmuseum.com/montclair-art-museum-presents-vanessa-german-please-imagine-all-the-things-i-cant-say/
NEW | FEATURES | PREVIEWS | EVENTS



originally published: 11/21/2022

(MONTCLAIR, NJ) — The Montclair Art Museum (MAM) presents a new exhibition opening in February 2023 featuring the work of vanessa german (b. 1976) titled …please imagine all the things I can’t say… The exhibition runs from February 11, 2023 to June 25, 2023.

vanessa german: …please imagine all the things i can’t say… will take the form of a large-scale, immersive installation of mixed-media works of art and will be the artist’s first solo exhibition at a museum in the New York area. The exhibition will include a range of freestanding and wall-mounted works from the years 2016 to 2021, as well as several works from the recent German solo exhibition, vanessa german: sad rapper, at the Kasmin Gallery in New York (September 8-October 29, 2022).

Originally from Los Angeles, the German currently resides in rural North Carolina. She is a self-taught sculptor, painter, poet and performance artist who defines herself as a citizen artist and is interested in art as a form of healing, protection and activism, especially for African Americans. His predominantly female figures of power explore themes of strength, love, and justice, while engaging with the complicated history of race in the United States. German was active from 2005 to 2021 in the community in the Homewood section of Pittsburgh and in 2011 founded Love Front Porch, an arts initiative for women, children and families in the local neighborhood. In 2014, she transformed the building next to hers into the ARTHouse, where people from her predominantly African-American neighborhood could come and create, especially children. ARTHouse has combined a community studio, a large garden, an open-air theater and an artists’ residence. german credits her mother, Sandra German, a quilter, textile artist and activist, with inspiring her from childhood to create things: “We made our own clothes, toys, books, recordings, plays. So I’ve really grown my whole life understanding that I don’t have to outsource my own fun (or) creativity. I could do things with my life.

The Museum’s Weston Gallery will present multimedia works of the artist’s installation Miracles and glory abound (2018), which traveled to three museums in 2019-20 (Flint Institute of Arts, Figge Art Museum, and Bates College Museum of Art) and has never been seen before in the New York tri-state area. The centerpiece is a life-size reinterpretation of Emmanuel Leutze’s iconic painting Washington crossing the Delaware (1851, Metropolitan Museum of Art). LaQuisha Washington goes through the conscious day recasts the figure of George Washington as a tall, imposing and proud African-American mother. Visually altering Leutze’s story, the German asks, “Who can change the shape of this story?” Who can create the images of these stories of American greatness? His view on painting has been linked to that of Robert Colescott George Washington Carver Crossing the Delaware: Page from an American History Textbook (1975, Lucas Museum) through the casting of all figures as African Americans. Miracles and glory abound asks us to reconsider the stereotypes of the birth of this nation – a task for which German is well suited. As the German inserts her multivalent identities of being black, American and queer into this canonical American narrative, she affirms the notions that “the political meets the spiritual meets the cultural” and that they “meet in a way which corresponds to my understanding of correctness”. .”

Linked to her identity as an activist, German’s creative practice has its roots in indigenous and West African folk traditions, as well as in the Black Arts movements from the 1960s. She works primarily with assemblage by sculpting with wood, plaster and fabrics, which she adorns with a wide range of objects and materials, some found in her local community, others from across the country. Prayer beads, doll parts, handmade pattern quilts, porcelain, skateboards, rope, silk flowers, cowrie shells, coke bottles, vintage porcelain bells and astroturf are part of the range of objects which, according to the German, “become both the wound and the medicine.” These “emancipating ingredients” are often listed and accompanied by a poem which conveys the meanings metaphysics inherent in each work. As the artist has observed, “what I come into is how grief and light are there, in one place…challenging[ing] the law of physics that tells us that two things cannot occupy the same space at the same time. The artist credits her early sculptures of power figures, created from materials found in vacant lots and abandoned houses in her neighborhood, with saving her from depression brought on by poverty and hardship.

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By her powerful work and her presence, the German offers a redemptive space to visitors. They are invited to identify, experience and begin to address any feelings of anger and grief caused by historical and current racial violence in our society, to which the German humanist vision responds with strength and compassion. Additionally, the MAM community will experience first-hand the German’s reputation as a fascinating speaker, educator and performance artist, when she gives the prestigious Gaelen Family Artist Talk in April 2023.

The exhibition will be accompanied by a fully illustrated catalog to be purchased in the MAM shop. This will be the only publication on the artist currently in print.

Montclair Art Museum Presents vanessa german:...please imagine all the things i can't say...

Can’t wait until February to discover vanessa german’s work in person? Discover the Germans untitled (2020), present until December 18, 2022 in the MAM exhibition, Transformed: objects reinvented by American artists.

The Montclair Art Museum has a renowned collection of American and Native American art that uniquely showcases artistic creation in the United States over the past 300 years. Works in MAM’s Native American art collection span the period from approximately 1200 CE to the present day. The Vance Wall Art Education Center encompasses the museum’s educational efforts, including the Yard School of Art’s award-winning studio classes, lectures and lectures, family events, tours, and the MAM Mobile Art Truck. MAM exhibitions and programs appeal to a wide audience of all ages, from families and the elderly to artists, educators and scholars.

All MAM programs are made possible, in part, by funds from the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts, the Vance Wall Foundation, the Partners for Health Foundation, the Geraldine R Dodge Foundation, and Museum Members.

PHOTOS: (TOP) vanessa german, Miracles and Glory Abound, 2018, mixed media assemblages. Installation view at the Flint Institute of Arts. Variable dimensions. Courtesy of the artist and Kasmin Gallery, NYC. Photo courtesy of Heather Jackson, Flint Institute of Arts

(BOTTOM) vanessa german, The HERO, 2022. Mixed media assemblage. 73 x 49 x 46 ¾ in. Courtesy of the artist and Kasmin Gallery, NYC.

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Meet Portland Art Museum Venues’ First Black Restoration Partner https://southeasternquiltmuseum.com/meet-portland-art-museum-venues-first-black-restoration-partner/ Sat, 19 Nov 2022 11:30:51 +0000 https://southeasternquiltmuseum.com/meet-portland-art-museum-venues-first-black-restoration-partner/

This black chef adds a lot of finger-licking flavor to the menu.

Cooking With B. Love, a food company founded by a Portland native Brittany Lovewas announced as the new exclusive catering partner for Portland Art Museum Venues (PAM).

According Koin 6 News, CBS, the Saturday, November 12 announcement declared Love as PAM’s first black caterer, with her business added to the list of preferred vendors. The 33-year-old chef had the opportunity to prepare her first event with PAM after an invitation from a certified executive coach Mary Morton brought her to WFP’s Fields Sunken Ballroom to hold her Living From the Inside Out event.

Love began pursuing her passion full-time after five years working with the Oregon Department of Social Services.

“I think while the pandemic has been happening, you’re just starting to feel like, ‘What wakes me up every day? What gives me this motivation? brings me joy?” she told Koin.

“…In the end, I was like, ‘I want to get into something that’s going to literally motivate me, make me happy, and make me smile.’ “”

Love began spreading her passion for cooking through her social media platforms, live streams, and showcasing simple recipes to her followers that they could try making at home.

“I had people continuing to follow and once we started to come out of the pandemic, people started reaching out a little more to host private dinners and parties and big events. I would say literally over the last year things have just taken off,” Love told Koin.

“I think the importance is really that I got my foot in the door, but it’s going to create opportunities for other people. I’ve already created a level of impact so maybe I can be an inspiration for someone to kick down those doors,” Love told the news station.

Although she is small, she recognizes that she is doing great things. Love has supported the Children’s Institute, Life Change Church PDX, her own brunches with Britt, and more. She’ll also be holding her sold-out Friendsgiving event on Friday, November 18.

“I’m just excited…I tell people, ‘Never forget: when you cook with love, it’s always better.’

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The Guggenheim Museum Bilbao celebrates its 25th anniversary with a projection-mapping show https://southeasternquiltmuseum.com/the-guggenheim-museum-bilbao-celebrates-its-25th-anniversary-with-a-projection-mapping-show/ Sat, 19 Nov 2022 05:10:41 +0000 https://southeasternquiltmuseum.com/the-guggenheim-museum-bilbao-celebrates-its-25th-anniversary-with-a-projection-mapping-show/

The Guggenheim Museum Bilbao has announced that from Monday, November 21, members of the public will be able to reserve tickets for Immersions, a free, large-scale light mapping, sound and projection show designed as the grand finale of the celebrations of the 25th anniversary of the Museum. This immersive experience will take place in the Atrium from December 3 to 11. It is sponsored by Seguros Bilbao, administrator of the Guggenheim Museum Bilbao since its opening in 1997, which thus reiterates its longstanding commitment to support the activity of the Museum. Seguros Bilbao is part of Grupo Catalana Occidente (GCO), one of the leading companies in the Spanish insurance and credit insurance sector in the world.

On these days, the Museum will close its doors at 6 p.m., one hour earlier than usual. Several slots will be available to enjoy the event: 6:30 p.m., 7:30 p.m., 8:30 p.m., 9:30 p.m. and 10:30 p.m. (access 20 minutes before). On the eve of public holidays, i.e. December 3, 5, 7 and 10, an additional time slot will be available at 11:30 p.m., so that as many people as possible can see the show.

Tickets must be reserved in advance on the Museum’s website, https://www.guggenheim-bilbao.eus/actividades/immersions, and members of the general public can reserve theirs from 9 a.m. on November 21 (Friends of the Museum can book from 17 November). You can also call (+34) 94 555 1380 Monday to Friday from 9 a.m. to 2 p.m.

Immersion keep on reflections, the spectacular projection mapping show on the facade of the building designed by Frank Gehry, which took place in 2017 to mark the 20th anniversary of the museum. Through Immersionthe story of the museum told outside the building moves inside, using the organic forms of the Atrium as a canvas.

“The randomness of the curves is designed to catch the light,” Frank Gehry said of the Museo Guggenheim Bilbao building.

Retracing the museum’s most important milestones throughout history and brought to life by the same spectacular soundtrack, Immersion will place the audience at the center of a unique spectacle of captivating sound, light and projection, taking viewers from mere observers to an all-encompassing sensory experience.

Immersion is the latest project from British design studio 59 Productions, which has created reflections in 2017 and won numerous awards for producing spectacular works for some of the world’s most iconic venues, such as the Tower of London, the National Theater and Royal Opera House in London, the Metropolitan Opera and the Nations Headquarters United in New York, the Sydney Opera House and the Salzburg Festival.

His most recent cultural projects include audiovisual design and interactive exhibit design at the Bob Dylan Center in Tulsa, Oklahoma; Leonardo: Discover a Masterpiece at the National Gallery in London, an immersive exploration of the painter’s genius and practice; a video installation on the history of the Baroque at Hampton Court Palace in London; and a map projection at Qasr Al Watan Palace in Abu Dhabi, commissioned by the Ministry of Culture and Tourism.

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The Children’s Discovery Museum will host a Covid-19 vaccination clinic and offer free entry https://southeasternquiltmuseum.com/the-childrens-discovery-museum-will-host-a-covid-19-vaccination-clinic-and-offer-free-entry/ Fri, 18 Nov 2022 13:10:19 +0000 https://southeasternquiltmuseum.com/the-childrens-discovery-museum-will-host-a-covid-19-vaccination-clinic-and-offer-free-entry/

The San Jose Children’s Discovery Museum will host a COVID-19 vaccination clinic on Sunday, offering free admission to every family with a child or adult who gets vaccinated.

The clinic is open to anyone aged 6 months and over and will offer a first, second and booster dose of the vaccine free of charge.

The Stanford University Medical Students Association Flu Team will provide vaccines at the event, according to the museum.

“The pandemic and its effects have been difficult for children and families, but a bright light for me has been the important role the museum has been able to play in making our communities healthier and stopping the spread of COVID-19,” said said the museum’s general manager, Marilee. said Jennings.

The clinic will be open from 9:30 a.m. to 12:30 p.m. and from 1:30 p.m. to 4:30 p.m. Those vaccinated will benefit from free admission for up to five people.

As of Wednesday, 88.2% of all Santa Clara County residents had completed their first round of vaccinations.

Copyright © 2022 Bay City News, Inc. All rights reserved. Republication, redistribution, or redistribution without the express written consent of Bay City News, Inc. is prohibited. Bay City News is a 24/7 news service covering the Greater Bay Area.

Copyright © 2022 by Bay City News, Inc. Republication, redistribution, or other reuse without the express written consent of Bay City News, Inc. is prohibited.

]]> Smithsonian African American Museum pays homage to Chadwick Boseman’s Black Panther costume in new exhibit https://southeasternquiltmuseum.com/smithsonian-african-american-museum-pays-homage-to-chadwick-bosemans-black-panther-costume-in-new-exhibit/ Thu, 17 Nov 2022 17:06:30 +0000 https://southeasternquiltmuseum.com/smithsonian-african-american-museum-pays-homage-to-chadwick-bosemans-black-panther-costume-in-new-exhibit/

By Stacy M. Brown, NNPA Newswire Senior National Correspondent
@StacyBrownMedia

A new exhibit debuting next spring at the Smithsonian’s National Museum of African American History and Culture (NMAAHC) will celebrate Chadwick Boseman’s Black Panther hero costume.

“Afrofuturism: A History of Black Futures,” opens March 24, 2023, and features the late actor’s iconic gear.

Black Panther counts as the first superhero of African descent to appear in mainstream American comic books, and the film is the first major cinematic production about the character.

For more details on the new exhibit and to sign up for additional updates, visit the museum's Afrofuturism website.

For more details on the new exhibit and to sign up for additional updates, visit the museum’s Afrofuturism website.

Investigating Afrofuturist expression through art, music, activism and more, this exhibition explores and reveals Afrofuturism’s historic and poignant engagement with African American history and popular culture. , Smithsonian officials wrote in a press release.

“From slaves looking to the cosmos for freedom, to popular science fiction stories inspiring black astronauts, to the musical influence of Sun Ra, OutKast, P-Funk and more, this exhibition covers the broad and impactful spectrum of ‘afrofuturism.’

Throughout the 4,300 square foot temporary exhibit, visitors will see a variety of artifacts from the pioneers of Afrofuturism, including Octavia Butler’s typewriter, Nichelle Nichols’ Star Trek uniform as a character of Lt. Nyoto Uhura and Nona Hendryx’s spacesuit-inspired costume worn during the performance with LaBelle.

The exhibit also uses selected objects to elevate stories that speak to black liberation and social equality, such as Experience Aviation’s Trayvon Martin flight suit and his childhood dream of being an astronaut.

“Trayvon Martin’s flight suit tells the story of a dream of spaceflight tragically ended by earthly violence,” said Kevin Young, director Andrew W. Mellon of the National Museum of African History and Culture. Americans.

“We are honored to tell more of Trayvon’s story, exploring his love of flight and mechanics and his fondness for science and technology. Afrofuturism represents the joy of a rich and imaginary future, often in the face of unfairness.

Since opening in 2016, NMAAHC has supported conversations, collections, and initiatives around Afrofuturism.

“Afrofuturism: A History of Black Futures” will be on view in the museum’s Bank of America Special Exhibits Gallery from March 24, 2023 through March 2024.

For more details on the new exhibit and to sign up for additional updates, visit the museum’s Afrofuturism website.


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JAMA Advocates for Reinstatement of Monthly Child Tax Credit Payments https://southeasternquiltmuseum.com/jama-advocates-for-reinstatement-of-monthly-child-tax-credit-payments/ Thu, 17 Nov 2022 14:32:19 +0000 https://southeasternquiltmuseum.com/jama-advocates-for-reinstatement-of-monthly-child-tax-credit-payments/

Image source: Getty Images

Congress will have to turn a blind eye to reality if it refuses to reinstate monthly child tax credit payments.


Key points

  • In six months, the expansion of the child tax credit lifted 3.7 million children out of poverty.
  • The month after the child tax credit expansion ended, food insecurity soared.
  • JAMA urges Congress to reinstate the expanded child tax credit.

Last month’s edition of the Journal of the American Medical Association (JAMA) confirmed what dozens of other studies have found: food insecurity increased dramatically after Congress refused to extend tax credits children’s monthly federal.

A break for families

In 2021, as the country continued to battle COVID-related illnesses, the Biden administration successfully pushed the American Rescue Plan Act through Congress. The plan included three major changes to the Child Tax Credit:

  • Expanded eligibility to include families earning little or no income.
  • Increase in credit amounts from $2,000 per child annually to $3,600 per child under age 6 and $3,000 per child age 6 to 17.
  • A provision that allowed families to receive half of the credit as an advanced monthly payment in their Bank account between July and December 2021.

For reasons we’ll get to in a moment, it’s important to note that no Republicans in the Senate or House of Representatives voted in favor of this family support.

Impact of the US bailout

JAMA highlights research conducted by the nonpartisan research group at the Brookings Institution. According to Brookings, the temporary tax credit extension lifted 3.7 million children out of poverty in December 2021.

Brookings found that expanding the Child Tax Credit significantly improved food security and also supported healthy eating. In addition, families were better equipped to combat pandemic-related inflation.

According to the Brookings Institution, there were other benefits associated with expanding the Child Tax Credit, including:

  • A drop in credit card debt, as families no longer need to pull out plastic to pay for necessities.
  • Fewer families relied on payday loans and pawnbrokers to get by.
  • Fewer parents had to sell blood plasma to earn money.
  • Some families have been able to start or build a emergency fund.
  • There has been a significant drop in the number of evictions.
  • Non-white households — including blacks and Hispanics — had funds available to cover child care and education costs.

In other words, life just got easier for over 35 million American households with children.

Then it’s over

When President Biden first proposed expanding the Child Tax Credit, he wanted it to continue until 2025. This would give families time to get back on their feet financially. Instead, the program was only due to run between July and December 2021.

After the monthly child tax credit installments ended, Democrats in Congress failed to get any of their fellow Republicans across the aisle to vote for an extension.

JAMA reports that after the first missed payment, food insecurity immediately increased. And in July, there was an almost 25% increase in the number of families without enough food. The most affected are low-income, single-adult, black, Hispanic and Indigenous households.

The JAMA article recommended: “The results of this study suggest that there was an increase in food insufficiency among households with children after they stopped receiving monthly child tax credit payments. children. lifetime, Congress should consider prompt action to reinstate this policy.”

To advance

Despite recommendations from health officials, hunger advocates, racial justice organizations and civil rights groups, it looks like the House of Representatives will return to Republican hands. Unless several representatives break with their party to support the reinstatement of the program, millions of families will continue to struggle to put food on the table.

If you would like to see the return of child tax credit payments, this link will help you connect with your elected officials.

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